Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

The Gardeners: a new opera by Robert Hugill

‘When war shall cease this lonely unknown spot,/ Of many a pilgrimage will be the end,/ And flowers will shine in this now barren plot/ And fame upon it through the years descend:/ But many a heart upon each simple cross/ Will hang the grief, the memory of its loss.’

Richard Jones's Boris Godunov returns to Covent Garden

There are never any real surprises with a Richard Jones production and Covent Garden’s Boris Godunov, first seen in 2016, is typical of Jones’s approach: it’s boxy, it’s ascetic, it’s over-bright, with minimalism turned a touch psychedelic in the visuals.

An enchanting Hansel and Gretel at Regent's Park Theatre

If you go out in the woods today, you’re sure of a big surprise. And, it will be no picnic! For, deep in the broomstick forest that director Timothy Sheader and designer Peter McKintosh have planted on the revolving stage at Regent’s Park Theatre is a veritable Witches’ Training School.

First staged production of Offenbach's Fantasio at Garsington

Offenbach's Fantasio is one of the works where, replacing the mad-cap satire of his earlier operettas with a more romantic melancholy, he paved the way for Les contes d'Hoffmann. Unpopular during his lifetime, Fantasio disappeared and only work by the musicologist Jean-Christophe Keck brought the score together again.

Rusalka in San Francisco

It must be a dream. Though really it is a nightmare. The water sprite Rusalka tortures herself if she is telling the story, or tortures the man who has imagined her if he is telling the story. Either way the bizarrely construed confusion of Czech fairy tales has no easily apparent meaning or message.

Orlando in San Francisco

George Frederic Handel was both victim and survivor of the San Francisco Opera’s Orlando seen last night on the War Memorial stage.

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods.

Carmen in San Francisco

A razzle-dazzle, bloodless Carmen at the War Memorial, further revival of Francesca Zambello’s 2006 Covent Garden production already franchised to Oslo, Sidney and Washington, D.C.

Weimar Berlin - Bittersweet Metropolis: Esa-Pekka Salonen conducts the Philharmonia Orchestra

Strictly speaking, The Weimar Republic began on 11th August 1919 when the Weimar Constitution was announced and ended with the Enabling Act of 23rd March 1933 when all power to enact laws without the involvement of the Reichstag was disbanded.

A superb Un ballo in maschera at Investec Opera Holland Park

Investec Opera Holland Park’s brilliantly cast new production of Un ballo in maschera reunites several of the creative team from last year’s terrific La traviata, with director Rodula Gaitanou, conductor Matthew Kofi Waldren and lighting designer Simon Corder being joined by the designer, takis.

A Classy Figaro at The Grange Festival

Where better than The Grange’s magnificent grounds to present Mozart’s Le nozze di Figaro. Hampshire’s neo-classical mansion, with its aristocratic connections and home to The Grange Festival, is the perfect setting to explore 18th century class structures as outlined in Lorenzo da Ponte’s libretto.

A satisfying Don Carlo opens Grange Park Opera 2019

Grange Park Opera opened its 2019 season with a revival of Jo Davies fine production of Verdi's Don Carlo, one of the last (and finest) productions in the company's old home in Hampshire.

Ernst von Siemens Music Prize, 2019

The first woman composer to receive the Ernst von Siemens Music Prize could not have been a worthier candidate.

Josquin des Prez and His Legacy: Cinquecento at Wigmore Hall

The renown and repute of Josquin des Prez (c.1450-1521) both during his lifetime and in the years following his death was so extensive and profound that many works by his contemporaries, working in Northern France and the Low Countries, were mis-attributed to him. One such was the six-part Requiem by Jean Richafort (c.1480-c.1550) which formed the heart of this poised concert by the vocal ensemble Cinquecento at Wigmore Hall, in which they gave pride of place to Josquin’s peers and successors and, in the final item, an esteemed forbear.

Symphonie fantastique and Lélio United – F X Roth and Les Siècles, Paris

Symphonie fantastique and Lélio together, as they should be, with François-Xavier Roth and Les Siècles livestreamed from the Philharmonie de Paris (link below). Though Symphonie fantastique is heard everywhere, all the time, it makes a difference when paired with Lélio because this restores Berlioz’s original context.

Ivo van Hove's The Diary of One Who Disappeared at the Linbury Theatre

In 1917 Leoš Janáček travelled to Luhačovice, a spa town in the Zlín Region of Moravia, and it was here that he met for the first time Kamila Stösslová, the young married woman, almost 40 years his junior, who was to be his muse for the remaining years of his life.

Manon Lescaut opens Investec Opera Holland Park's 2019 season

At this end of this performance of Puccini’s Manon Lescaut at Investec Opera Holland Park, the first question I wanted to ask director Karolina Sofulak was, why the 1960s?

Karlheinz Stockhausen: Cosmic traveling through his Klavierstücke, Kontakte and Stimmung

Stockhausen. Cosmic Prophet. Two sequential concerts. Music written for piano, percussion, sound diffusion and the voice. We are in the mysterious labyrinth of one of the defining composers of the last century. That at least ninety-minutes of one of these concerts proved to be an event of such magnitude is as much down to the astonishing music Stockhausen composed as it is to the peerless brilliance of the pianist who took us on the journey through the Klavierstücke. Put another way, in more than thirty years of hearing some of the greatest artists for this instrument - Pollini, Sokolov, Zimerman, Richter - this was a feat that has almost no parallels.

OPERA TODAY ARCHIVES »

Reviews

Wigmore Hall International Song Competition 2011
19 Sep 2011

Wigmore Hall International Song Competition 2011

The Wigmore Hall is the most respected centre of art song excellence in Britain and its Song Competition attracts interest from all over the world.

Wigmore Hall International Song Competition 2011

Dorottya Lang with Mehrdokht Manavi, Stuart Jackson with Jocelyn Freeman, Jonathan McGovern with Timothy End, Dominik Köninger with Volker Krafft. Wigmore Hall, London 8th September 2011.

 

Sir Ralph Kohn, head of the Kohn Foundation which supports the Competition and many other philanthropic ventures, asks in his introduction “Is a competition essential to identify outstanding talent”? So often competition results are controversial, and don’t reflect what happens later in the marketplace, but at the Wigmore Hall, the emphasis is less on competition than on nurturing young talent. Kohn adds, “None of Wagner’s ‘Beckmesserisms’ in our search for the next young Meistersinger”.

The 2011 Jury included Sir Ralph, Bernarda Fink, Graham Johnson, Thomas Quasthoff, Malcolm Martineau, Sarah Walker, Richard Stokes, Jeremy Geffen and both the present and past Directors of the Wigmore Hall, John Gilhooly and William Lyne. Judgement, though, is not the primary aim, for those who participate are encouraged to develop their skills. No “winners” or “losers” here, for all benefit.

Standards are very high. This year’s competition attracted 170 applicants from 33 countries. Some of the curriculum vitae are very impressive indeed, many applicants having extensive experience in fairly prominent roles. Many have won prizes before, and are involved with young artist schemes in major opera houses.

First prize went to baritone Dominik Köninger who made his debut in 2004 and who has worked extensively throughout Europe. He’s appeared in Baden-Baden, Stuttgart, Munich, Hamburg and the Theatre an der Wien. Next season, he joins the Komische Oper, Berlin. He has an attractively burnished voice, and his delivery is refined. He and his pianist Volker Krafft chose a programme of introspective songs, rather than those with immediate dramatic impact. In a competition which emphasizes German Lieder above all else, this demonstrated his fluency in “inward” expression. Köninger has a nice way of eliding words so they flow, without compromising diction. At times he showed real beauty, such as the way he infused the word “Lindenduft” (from Mahler’s Ich atmet einen linden Duft) with expansive warmth, evoking the scented breeze.

Second prize went to Stuart Jackson, one of the youngest participants, who is still attending the opera course at the Royal Academy of Music. Almost as soon as he started singing, I recognized his voice, though I’d heard him only once before, over a year ago, singing a few songs at a private recital which included many very well established performers. At the age of 25, very few singers are quite so distinctive that you remember their voices immediately, though you’ve forgotten the name and face.

Jackson’s tenor voice has natural colour and agility, but more importantly, he uses it intelligently. He’s very sensitive to emotional nuance. He sang several Russian songs, but had prepared so thoroughly that he conveyed mood so well that you could understand meaning. Jackson seems to relish the Russian syntax, sailing through the angular consonants of Mily Balakirev’s Son. A soldier is dying, dreaming of home : Jackson conveys both darkness and tenderness, so the song is deeply moving even if you don’t know the words.

Plenty of volume, too, huge crescendi where needed, but achieved through careful modulation, projected effectively outwards. No barking here, no straining for effect, but good technical control. A very good Liszt Pace non trovo (Petrach Sonnet no 104) indicates that Jackson can act with his voice. Jackson has an extremely interesting voice, but it’s his sensitivity to meaning and expressiveness that will give him an edge Properly polished and nurtured, Jackson will be someone to listen out for.

Song competitions are as much about identifying potential as about what happens in the finals. Perhaps that’s why mezzo-soprano Dorottya Lang won third prize, for she was so frozen by nerves that she didn’t come across well. Maybe she was better in the earlier heats. Potential, certainly, in baritone Jonathan McGovern. Again, nerves caused problems, which is hardly surprising, given the pressure these singers and pianists were under. McGovern has a nice, deep timbre, but also uses his brain. He chose Poulenc’s Four Songs from Le travail du peintre, shaping each song as Poulenc wanted, to reflect the poem and the painter described. Especially effective, though was his Ivor Gurney Epitaph in old mode. English song often suffers from over pretentious earnestness. McGovern free, almost conversational style communicates far better.

McGovern and his pianist Timothy End were awarded the Jean Meikle Prize for a duo, End sharing the Pianist Prize with Jonathan Ware, who did not appear in the finals. End’s not easy on his singers, being rather dominant and fast, but he’s a good player. I was impressed with Volker Krafft’s playing for Dominik Köninger. Krafft is primarily a conductor, and part of the Royal Opera House Jette Parker Young Artists Scheme, so his background is in voice,. He let his singer take precedence, shining in passages where the singer falls silent.

Thomas Quasthoff won an award, too, the Wigmore Hall Medal for outstanding contributions to the art of Lieder. The medal has only been awatrded once before, to Matthias Goerne. I was at Quasthoff’s very first Wigmore Hall recital, his London debut. It was a night to remember, and a reminder that relatively unknown singers can become major stars.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):